Heroic Spain

by Elizabeth Boyle O'Reilly

At first we thought it might be the side which we approached that gave so poor an effect, so we proceeded to encircle the building; on all four sides passing by window after window we saw not one inch of stone carved worthily, and to our astonishment we found it faced the mountains. Fancy a blank, rocky wall, a quarter of a mile away and fancy such a stupidity as choosing this to open on, instead of the wide horizon of the opposite side. Does this not give the key to the Escorial? It and its builder had no imagination. Since we were here we had to see it all, so we let ourselves be guided hither and thither, through courtyard after courtyard, down one dull corridor after another, in and out of rooms where little interested,—a dreary waste of a place. In the picture gallery overlooking the gardens we got our first introduction to that eccentric genius, El Greco, at his worst here, with sick color and elongated figures; we thought him quite mad. Nevertheless, the picture gallery was a respite; it was good to meet again Tintoret's rich visions of Venice, the full superb shoulders of his women, the gold brown of the robes. Ranged in cases there were also some embroidered vestments that were noticeable.

The church of the Escorial is so coldly formal and pretentious that it lay like a load on our spirits. There is something frightening in the way man unconsciously expresses his own nature in the material work of his hand; he may think himself very big, unless he really is he is certain to betray himself, if he paints or writes or builds. This correct, somber church exactly represents the religious ideal of a Philip II. Heaven, so close to one under the soul-feeding Romanesque vault of Santiago, in Seville or Toledo's Gothic aspiration, is very far away under this limited dome; the propriety here is that of a bigot, who would see heresy in the soar of Gothic, and backwardness in the bare solemnity of Romanesque.

We were shown the usual tourist-sights, the seat in the choir where Philip sat when news was brought of the Battle of Lepanto, which broke another inroad of the Mohammedan on Europe; also the life-size marble crucifix (spoiled by too long an upper lip) which Benvenuto Cellini made, and which was carried on men's backs from Barcelona to Madrid. Statues of Philip and his father, with the ladies of their households, kneel on either side of the altar, rich bronze-gilt work, but hardly in character with a church. Then we descended to that acme of dreariness and morbid misanthropy, the sunken chamber where are buried the royal family of Spain since Charles V; one somber coffin rose above another in the dark place. And art can make death so beautiful, art like the tombs at Miraflores and Avila! Happy beings to have escaped this dreadful hole of burial, we exclaimed. Could only a century separate Isabella in her Castle of Segovia, or in the white marble peace of her sepulcher at Granada, from her descendants' costly ideal of a palace and a mausoleum? As we stood shivering with the formality and melancholy of it all, with sympathy for the present happy young King and Queen who must lie here some day, a little touch of sentiment took away some of the oppression. We saw on the tomb of Alfonso XII a fresh wreath of chrysanthemums. Then, feeling that any more subterranean darkness was insupportable, we hurried up the steep staircase from the Pantheon, through the heavy-bound church, and out in the courtyard—dreary enough, too!—breathed the fresh air with relief.

In the library of the Escorial was the first place where I had seen the gilt edges of books, not their leather backs, presented to the reader, a rich, strange effect which later in the Seraglio at Stamboul I noticed again. We stopped long to examine the portraits that stand between the book-cases. Philip II was pale-eyed, anæmic and white-visaged, with drooping, hypochondrical corners to his mouth. And I had pictured him scowling and black and forceful! The Escorial should have told me that not a forceful personality could have built it but rather a stubborn ability and dogged patience, a narrow consistency, all in character with his pale eyes. The swift degeneration of the Hapsburg line is easily to be read in these portraits. Charles V (in Spain Charles I), keen of face and energetic, has a great-great-grandson, Charles II, last of the line, so rickety and idiotic that no caricature of used-up royal blood could go further.

Weary of sight-seeing where so little roused the imagination, we descended to the gardens, stiffly restrained too, but pleasant to loiter in. So close was the monotonous mass of gray stone above us, one did not have to look at it, but could gaze out on the wide view toward Madrid. Then at sunset we went back to the church for an evening service, that hour of prayer, restful and beautiful all over Spain. The Pater Noster was recited, a litany was chanted, a meditation was read slowly with pauses while the people listened with bowed heads and closed eyes. Then followed the primitive, centuries-old Latin hymns, the glory of the church, in which is incorporated for all time the piercing piety of the Middle Ages. I too closed my eyes to shut out the formal church, and for some forgetful moments I could dream that those quavering voices of old and young, so simple, so sincere, were in some unspoiled mountain village, perhaps in that most soul-satisfying temple of all the world, the Lower Church of St. Francis:—Assisi and the Escorial,—the human mind is capable of wide deviations, from the religion of humble love to this haughty contortion of it.

The most fatal effect of the Escorial was to fix the capital in Madrid, a spot, as Ford observed, that had been passed over in contempt by Iberian, Roman, Goth, and Moor. Up to the building of the Escorial the choice of a capital had wavered, at times, in Valladolid, in Toledo, or in Seville. Philip's mountain palace caused to be the chief city one of the worst situated towns in Spain, on a waterless river, with no commercial prospects, roasting in summer, swept by icy winds the rest of the year. It too, like the Escorial, lacks all soul for the traveler. Not a church worth looking at, all of them seventeenth and eighteenth century abominations with fat cupids, prancing angels, and posing, self-glorifying saints, not a cathedral in the capital of a country which has the largest number and most heart-satisfying cathedrals of the world.

I daresay if one lived in Madrid and had a full active or social life one might like it; there must be some cause for the proverb "From Madrid to heaven, and in heaven a peep-hole to look down on Madrid." As a city it can never be anything but second-rate; the new residential part near the parks is like the good districts of any average town. The famous Puerta del Sol is filled at every hour of the day and night with such a rabble of loafers and vociferating peddlers that it takes courage to push one's way through. As the Court was absent we missed seeing the brilliant morning hour of guard mounting before the Royal Palace. Occasionally some local sight would remind us we still were in Spain, the original and untamed. Ladies in mantillas would pass on their way to the late Mass at midday, a brougham drawn by handsome mules would go by, or, if it were a holiday, a few girls of the people wore embroidered shawls. But taken as a whole, for the sightseer Madrid is just a weariness of the spirit.

Except, of course, the pictures, and I must add, the Armory. We hurried off to the Prado, up the steps past the bust of the vigorous saturnine Goya, along the far-stretching hall, with hardly a glance for the white monks of Zubaran, or El Greco's strange canvases, till midway, we turned to the left into the large hall that holds the Velasquez masterpieces. It is a sensation in one's life, this first meeting with Velasquez at the height of his powers. The wonderful Doria Pope in Rome, the few pictures in London and Vienna whet the appetite for the supreme feast in Madrid. It is an unprecedented collection of one master that no glow of enthusiasm can exaggerate. Canvas follows canvas, all the work of secure, triumphant genius, with brush handling so free that it seems impossible he painted more than two hundred years ago. Don Carlos stands dangling a glove in an absolutely natural moment of nonchalance, Philip IV and the pompous Duke of Olivares ride their proud steeds out of magnificent skies, the gallant little Don Baltasar Carlos dashes at us on his pot-bellied pony, or stands a baby hunter in the Guadarramas. Velasquez painted him later, a grave, dignified lad of about fourteen, always with a fearless, straight look, and he also painted his piquant Bourbon mother, Philip IV's first wife; his second a wooden-faced Austrian, mother of the doll-like, big-skirted infantas. Had Don Baltasar Carlos lived, surely the race had not ended in a Charles II.

You walk about the Velasquez room bewildered, sorry for the copyists who have set up their easels before work that tells so unflinchingly each slip of a talent what it is to be a master. Portraits and genre studies; the lovely bent neck of the weaving girl, the breathing livingness of the Maids of Honor, the displeasing dwarfs,—each canvas is an achieved success.

At the end of the hall hangs what swiftly became my favorite of all pictures seen, the "Surrender of Breda," called "Las Lanzas," from the soldiers' spears ranged against the sky. It is a canvas about the size of the "Night Watch" in Amsterdam. The two armies fill the background under a sky that is a glorious harmony of cold blue and rose. In the foreground the Fleming, Justin of Nassau, advances to surrender the keys of Breda to its conqueror, the Marquis Spínola, general of the Spanish forces, though by birth a Genoese. Spínola has dismounted, and bends to meet his enemy, vanquished now, hence in his knightly creed, his friend. With a subtle, delicate shrinking he has placed his hand on his opponent's shoulder, and in his face is an expression of such high chivalry, of such generous effacement of self, of all that is best in man of courtesy and noble-mindedness, that the tears spring to the eyes. You return to it again and again and come away refreshed and ennobled. Only a man loyal himself to the core could render such an emotion, only a technical genius of the first rank could fix so fleeting an instant; this truly is thinking in paint, and it places Velasquez side by side with Leonardo da Vinci as a master of the intellect. I think it is very pleasant to learn that Velasquez knew the General he has immortalized, and you feel he must have known, too, the superb Spanish hidalgos who stand in the group behind the Marquis. On his first trip to Italy, the painter sailed in the same vessel to Genoa with Spínola, and probably sketched him then. I like to imagine the meeting of two such spirits of chivalry.